35mm and medium format photography, though different, generally require the same fundamental techniques, knowledge, and approach, save for a few somewhat minor differences. On the other hand, large format photography is something entirely different, and while it requires an entirely different set of skills, it will reward you with a look and level of image quality that not even the best digital cameras in the world can approach. The Intrepid 8×10 Gen 3 offers an affordable and relatively portable entry point into large format work, and this great video review takes a look at how it holds up in practice. 

Coming to you from Mat Marrash, this excellent video review takes a look at the Intrepid 8×10 Gen 3 large format camera. At less than $600 and under 3 kg, this particular camera is one of the most portable 8×10 options ever made. Nonetheless, you still get those massive 8×10 negatives, which at almost 60 times the size of a 35mm frame, dwarf even the largest digital sensors. On the other hand, each negative sheets costs around $4, so you have to think every image through extremely carefully. If you can stomach the cost and put in the deliberate effort the process requries, though, you’ll be rewarding with incredible and unique images. Check out the video above for the full rundown from Marrash. 

Seconds before this was taken, Lucía Mara had chased the woman down New York’s Third Avenue. It was the Argentinian photographer’s last day in the city and she was running late to a meeting before her flight home to Buenos Aires.

It was a sunny October day, bright after a night of rain, and the early afternoon light had illuminated the woman’s violet hair just as Mara, who studied photography and film at the University of California, passed by. She abandoned thoughts of her meeting and took off in pursuit, then, breathless, requested permission to take a photo. The woman, she says, was “ecstatic”.

“I took this picture while she was still reacting to my question. I liked how her full-blown expressiveness matches her bold hair, and how the green window display reflects in her sunglasses. I’m always drawn to reflections, shadows, windows, doors and the visual multiplicity and ways of seeing that they offer,” Mara says.

She believes she works at a much slower and more deliberate pace when using a normal camera. “Looking through a viewfinder somehow changes my rhythm; I even breathe differently,” she says. “With a phone, I’m less rigorous. There is an immediacy and a spontaneity which allows for the unexpected. This moment was all about her.”

Olayinka Sodiq AbdurRaheem is the founder of Yinka Da Image Studio. Yinka Day Image Studio is into photography, filming, framing, branding, printing, live streaming of events, and training people to become professionals in the photography industry.

AbdurRaheem believes his journey into the industry was not an accident. “It’s a natural gift. I loved to sketch and draw as a child, and it whetted my appetite for photography even before I had an opportunity to hold my dad’s gear, the camera.”

Motivation

“What motivated me to go into this business was the camera I held. That experience sparked the desire to know more about photography. And I saw it as a career path to follow, along with my inquisitiveness, so I enrolled at Yaba College of Education and the Nigeria Institute of Journalism (NIJ) to pursue a photography career,” he said.

Lucrativity

AbdurRaheem believes that the business is lucrative. “One, there is a huge market for it more than ever before, with different areas to focus on such as interviews, sports, conferences, comedy skits, weddings, and even working with the movie industry. So when you have large clients depending on you for their events, believe me, it’s lucrative.”

Challenges

To him, “every business has its peculiar challenges. In the visual industry, equipment is costly. From lighting to the camera, A lens on its own is a challenge. Also, we have different clients, each with their own opinion. Electricity is also an issue; most of the time, we had to provide power ourselves because we had to meet client deadlines.

“Another issue we face is a lack of access to funding. You have to carry your cross, except you are fortunate to have someone supporting you.”

Advice

To anyone coming into this profession, he urged them to “ensure you evolve and be willing to learn new things because the more you invest in the knowledge of photography, the more you create a craft, and the greater your reward. Always criticise your work for better performance. Look at other photographers’ work and learn how to do it best. Attend exhibitions and exhibit your work too.”

Biography

Olayinka Sodiq AbdurRaheem is a Nigerian professional wedding, lifestyle, and documentary photographer and videographer.

Born in the Agege area of Lagos, AbdurRaheem began his education at CAC primary school, Agege, and Dairy Farm Secondary School, Agege. He then proceeded to Yaba College of Technology, Yaba, to study photography, and later to the Nigeria Institute of Journalism, Ogba, to study photojournalism.

He founded Yinka Da Image Studio some years ago and has handled many events in and outside Lagos. As an inquisitive person, he has attended several trainings, seminars, and conferences on photography, both in and outside Lagos, and has trained over 500 people in photography.

SEATTLE — Seattle’s Chinatown-International District has been captured in photographs during the Lunar Year of the Tiger. This, as one of the city’s most iconic neighborhoods feels itself under threat.

Seattle’s Chinatown-International District has been named one of the nation’s most threatened neighborhoods. But the CID retains a cherished place in the hearts of the Asian-American community across the state.

An exhibit at the Nisei Veterans Hall reflects the CID vibrancy.

Perhaps the one constant in the history of Seattle’s Chinatown-International District has been change.

After all, this is the CID’s third location since the first Chinese immigrants arrived in Seattle in the 1850s.

“There was the time when little kids could run through these city streets here and play,” said Ron Choi. “And you did not feel in any danger. A village, it was like a village.”

In 2022, longtime photographer Rick Wong got a grant from tech giant Amazon for a CID exhibit to be displayed at the Wing Luke Museum of the Asian Pacific American Experience.

But the lead time for Wing Luke is years long.

“And so, Rick realized the Lunar New Year is not only two weeks during the celebrations,” said Choi. ” It’s the whole year. So, he got an idea to invite some photographers that he knows to join him and continues to project unofficially.”

Twenty-twenty-two was the “Year of the Tiger.” So, “Through the Eyes of a Tiger” was born.

Wong asked Choi to coordinate.

“So, through the lens of photographers, it was sort of a play on the word,” Choi said.

Photographer Sherwin Eng grew up with Choi and Wong. His CID roots go back to his great grandfather who came to Seattle from China in the late 1880s.

“It is like everything else, the neighborhood of Chinatown was our playground,” Eng said. “We would run down the street, not a care in the world, no fears, anything. So, I’ve seen the changes, unfortunately, good and bad, of the Chinatown-International District over the years.”

He, Wong, and four others agreed to capture their beloved “playground,” one photograph at a time.

“This one,” Eng said, pointing to a photograph, “I just love, I love bad lighting just because it gives you so many different opportunities.”

Then a photograph of the blight. “This place was a place called Jackson Beverage in the 60s,”

Both men say that the Chinatown- International District of their childhood is essentially gone. But with this exhibit, they have captured the CID at a particular time, a photographic record of what was for those who will come after.

“I’ve been a lifelong resident and it took this project for me to get closer to the community,” said Choi. “I mean, I’m like other people who would come down here, have a half a meal once in a while.  But I was able to discover more.”

A discovery that awaits any who venture here.

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In this video tutorial, I’m going to show you how I photographed the bedrooms on a $12 million yacht. Although the rooms are large for a boat, they are very small compared to your average bedroom. 

Although most architectural photographers will tell you that 12mm is too wide, when you’re shooting small rooms, the wider the better. I shot on the Sony a7 IV and Sony 12-24mm f/2.8 at 12mm. Remember, wide angle lenses do not cause perspective distortion; the position of your camera does. As long as your camera is as far back as it can be, shooting with a wider lens will not create more distortion; it will simply reveal more of the room. You can always crop in to get an identical-looking shot (minus a bit of resolution) when taken with a longer lens. 

To get the best possible image of a room, you’re going to want to composite images together. Remember, the camera can’t move between shots, so I decided to control my camera with my phone rather than potentially moving it while changing settings. I bracketed shots with the window closed and the lights in the room on and again with the window open and lights off. 

To capture the view outside, I stopped down to f/22 to get a correct exposure of the view, and I then bounced a strobe in the room to balance the light inside and outside. Finally, I took a shot while I was standing in the bathroom, firing directly onto the bed to mimic a beam of sunlight. 

Compositing all of these images together can’t really be explained in text, so watch the video above to see the entire process.

Today, we have started the largest sale we’ve ever done for our photography tutorials at the Fstoppers Store. If you’re interested in learning more about shooting spaces, I highly recommend our series with Mike Kelley, called Where Art Meets Architecture. 

Baseball teams play half their schedules on the road.

Now the Baseball Hall of Fame is doing the same.

It’s sending a photo exhibit on a three-year, four-city road trip that started Thursday at the Long Island Museum in Stony Brook, NY.

It will remain on display through Oct. 15, when baseball will be involved in playoffs leading to the World Series. Future stops for the 51-picture exhibit are Dubuque, Iowa; Greenville, SC
SC
; and Laurel, MS over the next three years.

Its title is more than a mouthful: “Picturing America’s Pastime: A Snapshot of the Photograph Collection at the National Baseball Hall of Fame and Museum.”

Photos in the traveling road show represent a small fraction of the approximately 750,000 images in the archives of the museum, which officially opened its doors on June 12, 1939.

Both black-and-white and color images are included, as well as sepia, with works spanning a time-frame that began with the birth of the game – and the birth of the camera – in the 19th century.

Among the photographers represented are Charles M. Conlon, Carl J. Horner, William C. Greene, Brad Mangin, and Arthur Rothstein (no relation to the gambler allegedly involved in the 1919 Black Sox Scandal).

As in the actual museum in Cooperstown, NY, the exhibit links two American passions: baseball and photography.

After leaving the Long Island Museum, the photo exhibit will move to the Dubuque Museum of Art next year, and both the Upcountry History Museum at Furman University in Greenville and the Lauren Rogers Museum of Art in Mississippi in 2025.

Copies of famous baseball photographs may be purchased at the Hall of Fame’s gift shop or online. In addition, many volumes of baseball books for sale in Cooperstown contain some of the same photographs on display in the traveling exhibit.

A non-profit institution that relies acquires its artifacts by donation rather than purchase, the Hall of Fame has 342 elected members, including Class of 2023 inductees Fred McGriff and Scott Rolen.

Inductions will be held at the Clark Sports Center, about a mile from the museum, on Sunday, July 23. Admission to the Hall of Fame is highest honor a baseball personality can achieve.

There is no good time to start a photography business, but there are certainly some more challenging times.

I don’t know if there is ever a perfect time to start a photography business; you never know what the future holds. But, I do know that there are more challenging times to start one than others.

I started my photography business in 2011 after the company I worked for closed its doors for good. The housing crises recession was still in full swing, and I decided to turn my hobby of photography into a full-time career. With all the hopes and dreams of becoming the greatest and most successful photographer I could be, I began my journey. I wasn’t in my twenties, and I just said goodbye to my thirties, so this had to work. I was ready to make it work. I had no experience running my own business, and photography was a lifelong hobby, but had no school or training behind me. I spent my days watching Creative Live during the free sessions and reading Fstoppers to learn as much as I could.

Unfortunately, all the hopes and dreams in the world won’t pay the rent, and being in one of the worst recessions this country has ever seen, people weren’t spending money on non-essentials such as photography. But, there was something that people were doing to survive the housing crash to pay their mortgage, and that was short-term rentals. 

I stumbled across a job add on Linkedin from Airbnb, still a pretty new company back then. They were looking for photographers to shoot their listings for $50 a shoot, and the only region they had available was Malibu, which is about 45 minutes away from my home with no traffic, but there is no such thing as no traffic in Los Angeles, so it was at least an hour drive each way. I didn’t care how far I had to drive or how low the pay was. I had to start somewhere. I love architecture and interior design, so I thought why not. Being that I live in Los Angeles, my plan was to shoot actor headshots and ultimately work full-time shooting fashion, but neither were happening, and my savings were dwindling. Yes, I even had to sell my Apple stock, which I originally bought for $12 a share – times were tough.

Knowing absolutely nothing about photographing homes and interiors, I went for it! I was hired, which was exhilarating to get my first job, then I was hit with sheer panic. I didn’t know how to photograph interiors. Every photographer experiences this when they are hired for their first real paying job. It’s imposter syndrome at its best, although I had really never done this before. The company sent me a PDF of how to take interior photos, best practices, and a shot list. I began practicing in my apartment, and the photos were horrible. My first shoots at listings were really bad, but luckily, the company was still figuring it out as much as I was, and with their guidance and input and through trial and error, I got better. At one point, I was doing up to five or six shoots in one day. I had to hustle, but eventually, that caught up to me, and I had to scale back to four a day. I still shoot vacation rentals and real estate listings, it’s actually a bulk of my business.

As I continued to photograph short-term rentals, I was still pursuing my headshot and fashion career. Starting a headshot business was incredibly challenging here in Los Angeles, as there were so many new photographers doing the same thing, but also, there are very well-established companies that a lot of actors flock to because of brand recognition and referrals. To this day, I still do headshots, but It’s not the bulk of my work. With that said, I literally just booked a headshot shoot while writing this post. As a freelancer, you never really know where your next job is coming from, but luckily, I was referred by someone. Which, by the way, is where I get a lot, if not most of my business, so always be friendly, on tim,e and adaptable. That seems to have worked for me.

As far as my fashion work, it is still something I love shooting. Fashion photography is a very creative process for me. I love creating a mood board and fitting all the pieces together: model, hair and makeup, location, etc. During the housing recession, fashion companies weren’t paying a lot to have their products photographed, and unfortunately, they got away with it and still try to. I see job postings to shoot for free or a six-hour shoot for $100. It’s just insulting and yes, you need to start somewhere and they know that. I took many jobs being underpaid because I needed to make money. You should always be paid something. The people that take these jobs for free is the reason companies continue to take advantage of us photographers. Now, if you are doing personal portfolio work to benefit yourself, the model, makeup artist, etc., then yes, those are probably free. Those are so everyone involved gets experience and photos for their portfolio and socials. Do as many of these as you can, and try to get in with talent agencies, shooting their new talent. I did this for years to build my portfolio. They don’t pay, but you will get to work with models that you probably would never find on your own.

Next up, COVID! In 2019, I added fine art photographer to my many hats. Of course, months after launching my e-commerce art site, COVID hit. I really know the best times to start a new business. The pandemic was a challenging time for everyone. I was lucky that I could still shoot some homes and apartments that were vacant. They were few and far between, but they did help. I tried to fill my time with shooting landscapes for my fine art site, but I also took some much-needed time to myself, which is one of the good things that came from the pandemic. You have to get creative and be able to pivot and possibly reinvent yourself, which I have done many times through my life.

Today’s challenge is dealing with being in a near-recession and very high inflation, which brings on its own set of challenges. At the moment, my fine art business is where most of my efforts are going, as It brings me the most joy and is where I see the most potential. But the art game is its own beast. Getting your name out into the art world is a struggle, but I keep pushing forward, and I just continue to shoot new work to sell. I’m also doing markets around L.A., which is a great way to meet people and make some money.

With all that has happened and all that will happen in the future, all you can do is move forward. I still have my days of wondering if I should quit and become a real estate agent or move to a cabin in the woods and live off the earth. Okay, that I would never do. The point is a photography career and life itself is full of ups and downs; you just have to ride it through and never give up. If it brings you happiness or at least a glimmer of joy during those rough patches, then it’s worth it. Keep moving forward because the ride never ends as long as you’re alive, and who knows what the next crisis is going to be. So, during a crisis, do whatever the hell you can to survive, work harder than the next person, and hope for the best, because everyone needs hope.

Working with flash is an important skill for many photographers, as it will allow you to explore a far greater breadth of creative ideas and to get around otherwise challenging technical issues. Nonetheless, there are some common misconceptions about the craft that can derail those are new to it. This excellent video tutorial features an experienced photographer sharing five of those misconceptions and what you can do to avoid falling prey to them. 

Coming to you from Jiggie Alejandrino, this informative video tutorial discusses five common misconceptions about flash photography. Perhaps the most common misconception I see among beginners is that more lights are better. While it is true that complex multi-light setups have their place, you will be amazed by what you can create with just a single light and how many professionals commonly choose to work with only one. And when you are first starting out, working with a single source while you learn is crucial, as it allows you to understand and master the properties of light far more effectively. Check out the video above for the full rundown from Alejandrino. 

If you would like to continue learning about how to light a portrait, be sure to check out “Illuminating The Face: Lighting for Headshots and Portraits With Peter Hurley!”